I called Bill a respectful time after David passed, and I was already doing this thing called the “Imax music experience.” It wasn’t to reignite the pitch from 2007. As I started to really study Bowie, I came to an enormous appreciation of his output, beginning withuntil the time I met with him. And I thought about that flippant, juvenile comment that I threw at him, which was essentially the same thing that everybody had been saying for years. And I couldn’t take it back.
[Another] thing that stayed with me was how present he was in the meeting. He never took his eyes off me. I realized that this is a man who never wasted a second. I flew to New York to meet with David’s longtime producer [Tony Visconti]. [He] said, “I want to play you the stems for a song called ‘Cygnet Committee.’ ” This is a song that David wrote at the very beginning of his career. At the peak of the song, David sings out, “I want to live, I want to live, I want to live.
I was never in my comfort zone. I would say that for the sound team, they totally were out of their comfort zone on their first call with me. The audio was designed to create a portrait of David, it wasn’t designed to simply reflect back to the audience what you’re seeing onscreen. After being alone for essentially five years and then having a sound team who also was invested in what we were doing, and I could talk to people — it was exhilarating.
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